Chris Butler, Charlie Robinson and Larry Bates in South Coast Repertory's 2013 production of "Death of a Salesman" by Arthur Miller. DEBRA ROBINSON

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Charlie Robinson, who plays Willy Loman in South Coast Repertory's "Death of a Salesman," was seen most memorably at SCR as Troy Maxson in August Wilson's "Fences." DEBRA ROBINSON/SCR

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Larry Bates as Happy lights a cigarette for Celeste Den as Miss Forsythe while Christopher Rivas as the waiter Stanley pours champagne for Becca Lustgarten as Letta in a scene from South Coast Repertory's production of "Death of a Salesman." PAUL RODRIGUEZ, ORANGE COUNTY REGISTER

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Charlie Robinson, left, as Willy talks with James A. Watson, Jr. as Charley in a scene from South Coast Repertory's production of "Death of a Salesman." PAUL RODRIGUEZ, ORANGE COUNTY REGISTER

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Larry Bates as Happy in a scene from South Coast Repertory's production of "Death of a Salesman." PAUL RODRIGUEZ, ORANGE COUNTY REGISTER

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Christopher Rivas, left, as Stanley the waiter, and Larry Bates as Happy take notice of a hooker in a scene from South Coast Repertory's production of "Death of a Salesman." PAUL RODRIGUEZ, ORANGE COUNTY REGISTER

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Charlie Robinson, right, as Willy and James A. Watson Jr. as Charley in a scene from South Coast Repertory's production of "Death of a Salesman." PAUL RODRIGUEZ, ORANGE COUNTY REGISTER

South Coast Repertory's audacious season opener – a version of Arthur Miller's grim tragedy, “Death of a Salesman,” in which Willy Loman and his family are played by African American actors – happened for two reasons: a four-decade friendship and a bucket list.

“I've known Charlie Robinson since I was a kid,” said the production's director, Marc Masterson, who was appointed to SCR's top position two years ago. The two worked together at a Houston theater in the 1970s, when Masterson was in his teens and Robinson was in his early 20s.

“Since I moved to Orange County I enjoyed reconnecting with him and watching his work here on ‘Jitney' and ‘Fences,' ” Masterson said. Robinson was in a 2012 South Coast Rep production of “Jitney” and played “Fences' ” magnetic patriarch, Troy Maxson, at SCR in 2010.

One day over lunch, Masterson posed a question to Robinson that all actors of a certain age ask themselves.

“I said, ‘What's on your bucket list?' ”

Robinson laughed when reminded of the conversation. “I've got a few things on that list: (King) Lear, of course. And I've always wanted to play George in ‘Who's Afraid of Virginia Woolf?' I mean, why not? It's such a great part.”

Another role dominated the list: Willy Loman.

“He was on board right away,” Robinson recalled of Masterson's reaction. “He told me he had always wanted to do something different with that play.”

It's one thing to wish for a certain thing and quite another when you're immersed in it, Robinson discovered.

“I'll be honest with you. In the first rehearsal I was saying to myself, ‘What the hell was I thinking about? This (role) is a beast.' And while Marc is a great director, when you don't have a lot of time – we have only 3 1/2 weeks to put it all together – well, you get a little nervous.

“But when I saw how wonderful this cast was, I kind of relaxed a little bit. I've still got a long way to go, but it's coming along nicely.”

The failing salesman and his fragile relationship with his wife and two sons has become one of American theater's most iconic theatrical tales.

Since its triumphant 1949 debut, which earned a Pulitzer Prize and a best play Tony, “Salesman” has been revived four times on Broadway and found worldwide popularity in many languages. A 1983 Chinese staging, directed by the playwright, was a sensation at a time when that country hadn't seen a salesman in decades.

‘A devastating place to be'

Once Masterson decided to cast Robinson as Willy, he realized casting the other characters would take him in either of two directions.

“You could do it entirely color-blind. The thinking is that you cast the best actor for each part regardless of their race and you ask the audience to suspend their disbelief. Generally I feel that works best in Shakespeare and other classical plays where you're not really thinking about character relationships from a realistic standpoint.”

The bolder route would be to portray the Lomans as an African American family, introducing nuances and subtexts that Miller never anticipated. Nevertheless, Masterson was attracted to the idea. “I decided it would make more sense to get people to see it through the lens of a family by casting everyone of one race.”

From a historical standpoint the notion wasn't implausible, Masterson said. “There were black traveling salesmen in the Northeast (in the years after) World War II.” But the segregation common to most communities at that time probably applied to Loman's profession, too, the director added.

Robinson said the more important and universally relevant aspect of the play is Willy's sense of hopelessness and anger over professional failures.

In the shadow of the Great Recession, that message has become poignantly germane again. Willy experiences what many middle-age workers are feeling today regardless of their race or class, Robinson pointed out.

“Once you feel that you're not succeeding in life, and your profession is dying, and you're too old, and you can't bring money home to provide for your family, and you have to borrow money just to pay bills, that hurts.”

While Robinson sees parallels between Willy and Troy Maxson, there are crucial differences between the failed salesman and the proud if troubled garbage man at the center of “Fences.”

“Troy never expected to have as much as Willy. He didn't dream of being part of the middle class. And he has more confidence than Willy. He's strong enough to know, ‘Even if nobody believes I'm good, I know I am.'

“Willy doesn't have that. He feels like a total failure. At the end, his life insurance is his only legacy. That is a devastating place to be.”

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